El Amor Y La Salvación Existencial En Dos Poemas De Pedro Salinas

PMLA ◽  
1970 ◽  
Vol 85 (2) ◽  
pp. 205-211
Author(s):  
Por Juan Villegas
Keyword(s):  

The recurrent euphoria of the lyric speaker who addresses the mysterious beloved in La voz a ti debida establishes love as the keynote of the work. The poet strives for and falls in love with love itself. Reacting against a tangible world which has no meaning for him, he seeks instead the mysterious and the ineffable, musing on his beloved's reality, searching for that reality, and struggling against a void. This conception of love is manifest in the theme, structure, and images of each poem. In the first verse, “Cuando tu me eligiste” the three moments–before (chaos and confusion), now (vital plenitude and enthusiasm) and after (deception and return to gray uniformity) –are distinguished by varying images and poetic tones. Joy is dominant in the second offering, “Qué alegría vivir / sintiendose vivido!” and is thematically justified because the lyricist's amorous fulfillment prevents the anguish of nothingness and the threat of death, and affirms love's power. The poem's structure is parallelistic, based on the two types of existence. His is unreal and banal; hers is real and meaningful. The movement of the poem leads to the joining together of the lover and the beloved and culminates in their mystic union at the poem's center. The images are ethereal and provide an example of a “poetics of verticality.” (In Spanish)

Hispania ◽  
1996 ◽  
Vol 79 (1) ◽  
pp. 54
Author(s):  
John Dowling ◽  
Stephanie L. Orringer
Keyword(s):  

Hispania ◽  
1967 ◽  
Vol 50 (1) ◽  
pp. 187
Author(s):  
Julian Palley ◽  
Carlos Feal Deibe
Keyword(s):  

2019 ◽  
pp. 126-143
Author(s):  
Lena Burgos-Lafuente

The chapter provides a genealogy of the 2016 CILE (Congreso Internacional de la Lengua Española), during which the Spanish officialdom celebrated Puerto Rico's linguistic ties to Spain as a 21st-century mercantile ploy. I review the language debates that raged in Puerto Rico in the 1940s, examining Pedro Salinas' 1948 Commencement Speech at the University of Puerto Rico, which would become his famed "Defensa del lenguaje"; revisiting Gov. Luis Muñoz Marín's 1953 speech "La personalidad puertorriqueña en el Estado Libre Asociado"; and ending with a brief coda on Ana Lydia Vega's 1981 short story "Pollito Chicken," to reflect on the positions shared by both Spanish exiles to the Caribbean and local intellectuals regarding language as a self-evident vessel of identity. The main argument is that a rhetoric of defense, crystallized in the 1940s, was redeployed by successive and presumptively opposite segments of the intelligentsia.


Author(s):  
Silvia Colás Cardona

Born in Cadiz, Andalusia, and a member of what is known as the Generation of ’27, Rafael Alberti started his career as an avant-garde painter. He began to paint when his family moved to Madrid in 1917, and later in his life, he admitted to thinking of himself as a painter before a poet. He started writing poetry in 1920, publishing some of his early works in the ultraista literary review Horizontes. His first book of poems, Marinero en tierra [Sailor in Land], won the prestigious Premio Nacional de Literatura [National Prize for Literature] in 1925. Soon would follow La amante [The mistress] in 1926 and El alba del alhelí [Dawn of the Wallflower], published in 1927. All three of these works were inspired by neo-popularismo, one of the various literary trends that influenced the Generation of ’27. The arrival of Alberti at the Residencia de Estudiantes [Student Residence] in 1924 marks a crucial moment in his life; it was at the Residencia that he met most of the members that would later form the Generation of ’27: Federico García Lorca, Salvador Dalí, Luis Buñuel, Jorge Guillén, Gerardo Diego, Pedro Salinas, Vicente Aleixandre and Dámaso Alonso, among others.


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